The project was an initiative of the Estúdio Voulta Creative Network studio that aimed in promoting the Brazilian publishing and printing market through a complete and immersive process in the universe of book production. The central objective was to provide the experience of exchange and experience among different professionals through Brazilian design, a segment that has an extremely rich repertoire with potential to be explored and constantly studied.
During five days, people will participate for free, performing activities of different natures, being taught by outstanding professionals of all the country with complementary knowledge. At the end of the event, the members will find the resources to join and make a difference in the area, whether in a recognized publisher or independently setting up their own.
The project consisted of a total of 02 (two) lectures and 05 (five) free workshops.×
Floresta Debaixo do Mar (Forest Under the Sea).
Giro Planejamento Cultural was responsible for the production and financial management of the play Floresta Debaixo do Mar, for which it obtained funding from the Funarte Myriam Muniz Theater Award.
In October 2015, the play debuted in the Espaço Cultural (Cultural Space) in Barroquinha, Salvador. Floresta Debaixo do Mar is an international co-production directed by Bahiana Paula Lice and starring Leonel Henckes, who has been based in Salvador since 2009, and Christina Kyriazidi, a Greek actress based in Berlin, Germany. The production team also includes musician Ronei Jorge, musical director, and Erick Saboya. Set designer (recipient of a 2014 Braskem).
In 2015 Giro obtained funding form the Bahian State Cultural Fund for Floresta Debaixo do Mar to tour and conduct a series of workshops in the cities of Juazeiro, Valença and Guanambi in the interior of the state of Bahia.×
O Corpo a Espreita do Feminino
In 2014, Giro Planejamento Cultural began a partnership with Teatro Base (Basic Theater), a performance art research collaborative based in Salvador, whose investigative focus is on the principles of theater, dance and music that form the basis of the work of a performer.
In five years of study the group has produced a body of work that includes; a group of theatrical experiments; three artistic compositions (Arbítrio (Judgement), Oroboro and A Bunda de Simone (Simone’s Butt)); production of the mini-residency of Delirium Ambulatorium (Years I and II); several workshops; and the event/movement EMPUXO.
In 2011, Teatro Base’s production Arbítrio received three nominations for the Braskem Bahian Theater Award (Best Play, Best New Actor and Best New Group), and won the award for Best New Group. In 2015, A Bunda de Simone, won the Braskem Theater Award in the “Special” category, for Erick Saboya’s set design and installation and was nominated for Best Script Award.
Giro’s work with Teatro Base has included management of; the debut, tour and 2nd Season of A Bunda de Simone; 1st, 2nd and 3rd years of Delirium Ambulatorium, GEMA; A series of exchanges with the Lume Theater Group of São Paulo, the Yuyachkani Group of Peru, the Collective ATUADORA of São Paulo; and Teatro Base’s fourth production.
BARBACENA – Fragmentos da Loucura
Inspired by awarded book “Holocaustro Brasileiro” (Brazilian Holocaust), which was selected as the best documentary book of the year by the Paulista Association of Art Critics (2013) and the second documentary book at the Jabuti Awards (2014), the play “Barbacena – Fragmentos da Loucura” consists of the first adaptation of the work to the stages.
Published in 2013, the book tells the history of the major asylum in Brazil, located in the city of Barbacena, at the Serra da Mantiqueira in Minas Gerais. The Colony Hospital has revealed being bigger in many numbers: in size – almost 4 millions of square miles; in terms of activity – from 1903 until 1980; and in tragic facts, 60.000 people died there as interns. The diagnoses for hospitalization were done without medical criteria – patients having sadness as a symptom, for example, were found in the records. The public was diversified, but homogeneously marginalized: farmers’ daughters who had lost their virginity, homosexuals, political militants, single mothers, alcoholics, black people, poor people, beggars, undocumented people and all types of unwanted, as an extreme example of the eugenicist practices.
The project was idealized by Giro Planejamento Cultural, the proposition has a scheduled feature for the month of October 2019 and will be under the direction of artist Fabio Vidal, assistant director Yuri Tripodi and playwright by Diego Pinheiro.×
The festival “Devires” proposes an exercise of the de-naturalization of the relations among sex, gender, visualities, race and power. Free of charge, the project executed action from July till September of 2018 at the Goethe-Institut Salvador, presenting thirteen performances, an exhibition, three round table of debates and three workshops, and moreover a closing concert. In the schedule, artists from Bahia, Brazil and from abroad were participating.
Under the curatorial process of Paola Marugán and Juliana Vieira and the production of Giro Planejamento Cultural, the project was contemplated by the public call “Dinamização de Espaços Culturais”, having the financial support of the Government of the state, via the Fundo de Cultura, Secretaria da Fazenda and the Secretaria de Cultura of Bahia.×
A dramaturgia do Debate (The dramaturgy of Debate)
The project combines creative audience formation through the diffusion of shows. Before performing the performances of the show NAMIBIA, Não! to his target audience the project provides three meetings with creative stimulation on the writing of spectacles-debate, where the student will come into contact with the process of construction of a theatrical text.
The students participated in a debate with the actors of the show (soon after the presentations) on the theme and aesthetics of the dramaturgy of the presented show.
The proposal has the production and financial management of Giro Planejamento Cultural and took place at the Centro Cultural Banco do Nordeste – situated in Cariri, in July 2017, through the BNB – CULTURAL 2016’s Call for Entry.×
A Bunda de Simone (Simone’s Butt)
In October 2014, Giro Planejamento Cultural was responsible for the production of the play A Bunda de Simone (Simone’s Butt) that debuted in the Espaço Cultural (Cultural Space) in Barroquinha, Salvador.
The play provides a forum for discussion of the body and its autonomy in contemporary society from an esthetic perspective. The structure of the piece brings to light the significance of identity beyond the physical body, using elements of dance, theater and performance, inspired by the writings of Simone de Beauvoir, studies about the human body, in particular the female body, desire, the media, pop culture and the life experiences of the cast’s female performers.
Giro obtained funding for A Bunda de Simone from the Bahian State Cultural Fund. . The play was nominated for the 2015 Braskem Theater Award for Best Script and won the Award in the Special category for scenery designed by Erick Saboya. In same year, it was one of eight plays selected from 134 applicants, to participate in the eighth edition of the FIAC (International Theater Festival of Bahia).×
Giro Planejamento Cultural produced the play #MERGULHO of Eranos Círculo de Arte de Itajaí, in Caixa Cultural Salvador, in October 2016.
It was developed especially for children from 1 to 6 years old. Its original dramaturgy was made from stories / drawings on the sea, created by children in a research that composed the process of the play. The focus of the narrative is imagery, with a language closer to the universe of children of this age group, using a lot of digital projections in constant relationship with cast and audience.
The show is directed by Max Reinert, with performance by Sandra Coelho and Leandro Maman, soundtrack by Hedra Rockenbach, production, research and screenplay by the Eranos Círculo de Arte.×
A mulher do Fundo do Mar (The woman from the bottom of the sea)
The play is written and directed by Aldri Anunciação and it premiered in November 2016 at the Goethe-Institut / ICBA Theater. The work deals with gaps in the continuous line of official memory. The show makes use of the empty spaces, which the official history / memory does not record or reach. This fictional and dramatic writing deals with subterranean memories, metaphorized by the evasive underwater actions of the main character: the woman on the seabed. Through a tension between the official memory and the underground memory, the narrative takes us to the deepest oceans, trying to recover identities.
Confined to the abysmal solitude of the oceans, a woman lives fantastically on the bottom of the sea. Through the collection of marginalized memories that fall from the surface of the seas, process of reinvention of identity begins.
Festival Dramaturgias da Melanina Acentuada – Ano 5
The 5th edition of the Festival “Dramaturgias da Melanina Acentuada” was an event produced by Melanina Acentuada Productions, under the productions of Henckes Productions and Giro Planejamento Cultural.
The project, which started in 2012 at the Teatro de Arena Eugênio Kusnet (SP), followed in 2014 by the Goethe-Institut Salvador-Bahia (BA), and it took place in 2015 at the Teatro Dulcina (RJ), and in 2016, at the Cultural Center of Barroquinha (BA). It aims to investigate the esthetics, the identity, the themes and the black contemporary theatre productions, based on the playwriting signed by artists of the black diaspora.
In its 5th edition, the festival has done a tribute to celebrate the 90th birthday of actor Mário Gusmão, an outstanding name to the performing arts of Bahia and the Brazilian Black Theatre, besides 10 theatre plays and performances, 8 creative workshops, 4 “Noites Dramáticas” (Performing Nights) with the reading of scenes of 12 inedited texts and still one musical presentation of the group “Coletivo Afrobapho”.×
(Português do Brasil) Trilogia do Patrocínio×
OBÌNRIN – Ancestrality, Artistic Residence and Black Feminist Performance
The OBÌNRIN Project – Ancestrality, Artistic Residence and Black Feminist Performance, that took place at the Cultural Center of Barroquinha (Salvador – Bahia – BA) from May to July 2018, was conceived and coordinated by actress and performer Laís Machado. It was a black and feminist artistic occupation that aims to give visibility to contemporary productions of black artists and their discourses, as well as to discuss the historical annihilation of black women that were relevant to the cultural and political scenario of the city, besides it proposes to establish new networks among Afro-diasporic Latin American and Brazilian artists.
The Cultural Center of Barroquinha was chosen due its historical context of being a place of black resistance where the “terreiro” that existed in that land gave the origins to the format that we current know about the “candomblé” of the Ketu’s nation. This process was captained by three women: IyáNassô, IyáDetá and IyáKalá, whose biography has been involved in the golden ages of mysteries and erasures. The occupation has also dived in this universe taking their histories as a ground zero of the process of annihilation of black women who came afterwards till our days. All of the performative debates occurred through activities such as the artistic residence, the construction of networks, video-conferences, round-tables, theatre presentations, performative exhibitions, journals and musical attractions.×
Cartografando Afetos (Mapping Affections)
The project proposes the preparation of a creative and documentary process from the listening of 10 black women by other women, allowing the reflection on the effects generated by racism and sexism in their subjectivities.
This project has interviewed 10 black women from different generations, sexual orientations, cis and transgender, different professions and degrees of education, as well as from many neighborhoods of Salvador, trying to hear their love stories, their encounters, misunderstandings and how they perceive that racism affects their lives, understanding that these perceptions will also bring variations and multiple interpretations.
All interviews were recorded and photographed, resulting in an ethnography that has provided the basis for the construction of the dramaturgical text and other works that were created in the project: the performance “Sobretudo Amor” (Above all, Love), photographic essay (called lambe-lambe) that were spread in the city.
And finally, the documentary registered all stages of creation, inspiring new reverberation and reflection processes. The project also includes a debate, bringing together black women experts in this discussion, evoking their look at different perceptions.
The production and financial management of the project was carried out by Giro Planejamento Cultural.×
The very first authorial Brazilian scenic work fully spoken in Yorùba, QUASEILHAS by Diego Pinheiro is an experience that is motivated by the integration of performative presences in the gaps of Afro-diasporic memories. The movement started with the familiar memories of artist Diego Pinheiro and his experience in the region of Alagados, of Itapagipe. Through the oríkì, the author trades the amnesia for the invention of memories of his maternal family: black descendants of Ijesa, the Nigerian city of Ilésà.
The masterpiece had its first season taking place at the city of Salvador in April 2018, and afterwards, it has participated in August of the same year of the IC-Encontro de Artes in September, also in the International Theatre Festival of Belo Horizonte (FIT – BH). In April 2019, it has promoted the second season (associated to actions of public formation) at the Mercado Iaô (Salvador – BA).
Besides, after attending QUASEILHAS, the well-known movie director and artist of the Afro-Britannic installations, Isaac Julien, has invited Diego Pinheiro to direct one of the performances of his upcoming film on the life of Italo-Brazilian architect Lina Bo Bardi; Julian has also invited the crew and cast of QUASEILHAS to participate in an artistic residence in the Atlantic Center for the Arts (Florida – USA), a center for contemporary artists in the domains of the visual, literary and performing arts.
QUASEILHAS was nominated to the PRÊMIO BRASKEM DE TEATRO 2018 in the categories of Direction and Special (Music Direction).
Parece Bolero (Seems like Bolero)
Nominated for the Funarte Myriam Muniz Award in 2012, Parece Bolero is a study of Bolero as a form of music, dance and drama. Written by Paula Lice and directed by René Guerra, this one-woman show tells the story of Gracinha. Somewhat refined, somewhat talented, somewhat original, somewhat happy, Gracinha wants to be a singer, dancer and TV star. The play is a portrait of the 1950’s. Gracinha is a woman who learned to be melodramatic from watching soap operas. The plot revolves around a declaration of love for Gilberto, torn up because he danced with Iara, Betty and Malu.×
Victor James – O menino que virou robô de videogame (Victor James – The Boy Who Became a Videogame Robot)
The play is a proposition by the Carioca group “Centro Teatral Etc e Tal” and it gathers theatre, mimics and humor. The history is based on a boy who spends his days in front of a videogame game, denying breakfast, lunch, dinner, shower time and studying. And dreaming with the sensations of having those powers. Finally, Victor becomes one of his dolls/robots, starting to live experiences that were not pleasing inside of prison which is the computer display. Feeling on his own skin what the virtual characters feel, he starts to finally meet his own limits.
The presentations were done from the 12th to the 22th of October 2017 at the Caixa Cultural Salvador and Giro Planejamento Cultural was responsible for the local production.×
O Jardim de Humberto Porto×
Para o menino Bolha (For the Bubble Boy)
In 2014, Para o menino-bolha, written and directed by Paula Lice, participated in the 3rd edition of the Festival Xistinho, in the 10th edition of the Mostra Sesc de Artes, and in the 2nd edition of the FESTECA, and finished its first season in the Espaço Xisto Bahia in Salvador. It received three nominations for the Braskem Theater Prizes in the categories of Best Script, Best Direction and Best Childrens play. In 2015, it performed a new season at the Teatro Sesi in Rio Vermelho Salvador and won the Braskem Theater Award for Best Script. In 2016, the show circulated several capital cities in the Northeastern area as a result of the Prize FUNARTE Theater Myriam Muniz. In 2017,a second movement will be held in the Centro Cultural do Banco do Nordeste of Fortaleza, with the sponsorship of the BNB.
The play tells the story of two children, Maria da Graça and Pedro, who don’t know how to make friends, and depicts how they find each other one-day through their imaginary friend, the Giraffe.
Floresta Debaixo do Mar (Forest Under the Sea)
Floresta Debaixo do Mar, debuted in October 2015 in the Espaço Cultural da Barroquinha, Salvador, with funding from the Funarte Myriam Muniz Theater Award.
The play tells the story of Ella, a young aspiring writer, who manages to arrange a meeting with acclaimed novelist Manu Singer, author of one successful book, Floresta Debaixo do Mar. Ella’s real intentions are revealed as she attempts to resolve obscure pieces of her past that involved the author including her work and the suicide of her father. Mixing projection, magical realism and film noir, the play pays homage to the famous French actor Patrick Dewaere.
Floresta Debaixo do Mar is an international co-production directed by Bahiana Paula Lice and starring Leonel Henckes, who has been based in Salvador since 2009, and Christina Kyriazidi, a Greek actress based in Berlin, Germany. The production team also includes musician Ronei Jorge, musical director, and Erick Saboya. Set designer (recipient of a 2014 Braskem).×
Uma Vez, Nada Mais (One time, Nothing More)
In 2016, Giro Planejamento Cultural managed the staging of Uma Vez, Nada Mais, at the Banco do Nordeste’s Cultural Center in Fortaleza, funded by a grant program aiming to increase the dynamism of the Banks cultural spaces.
The result of years of research and investigation into the movement and language of silent film, this play tells the story of two women, both passionate and dreamers, who, little by little, discover that they have many things in common, which makes for an diverting “romantic comedy”. With lyricism, irony and humor, but without a single word, the actresses move in a distinctively precise and agile way, evoking the esthetic of silent film. Uma Vez, Nada Mais proposes an exchange among languages, by joining television and radio soap-operas and cinema together, and introduces humor through ingenuity, body language, the humanity and endearing natures of the characters and the simplicity of each situation.
In 2009, the year of its premiere, Uma Vez, Nada Mas received the Braskem Theater Awards for Best Play and Best Actress, and was nominated by the public for Play of the Year. After many awards and several enormously successful seasons in the main theaters of Salvador, the romantic comedy toured fourteen Brazilian cities, funded by grants received from the Funarte Myriam Muniz Theater Award and the Caixa Economica Federal Bank, as well as a partnership with the SESCS through the project Palco Giratório.×
Obsessiva Dantesca (Dantesque Obsessive)
It is a solo of the actress, performer and researcher Laís Machado that proposes a space of ritualization of the political, existential and philosophical obsessions from the artist as a black woman, mixing two aesthetic structures: the show and the rite. The performance seeks to integrate female powers from a monstrous perspective, removing the illusion from the past and the present, proposing this space to liberate acts based on what it is to be a woman – and a black woman – yesterday and today. Above all, Obsessiva dantesca is about politics.
The musical- scenic performance counts on the creation and performance of Laís Machado, artistic direction of Diego Pinheiro and musical direction of Andrea Martins. In 2016, the year of its premiere, the show was invited to join the program of the International Festival of Performing Arts of Bahia – FIAC and the II Encontro Fronteiras Sa(n)grada Festival.
Campo de Batalha (The Battlefield)
It is a scenic allegory of a 3rd world war with text by Aldri Anunciação (Jabuti Prize – Literature – 2013), directed by Marcio Meireles (creator of the Bando de Teatro do Olodum) and co-directed by Lazaro Ramos. Campo de Batalha (The Battlefield) marks the meeting of the three countrymen, converting into the second partnership of Aldri with Lázaro Ramos (who also directed Namibia, No!)
The show has toured five Brazilian capitals and collects more than 10,000 spectators and three nominations in the main categories of the Prêmio Braskem Awards (Best Text, Best Direction and Best Show) in only 08 months of the season.
The cast are made up by Aldri Anunciação and Thiago Quirino, and it also features some recorded interventions by the actress Fernanda Torres, who plays the voice of the war in an audio played by a VJ / DJ during the scenes.×
(Português do Brasil) Para o Menino Bolha×
Namíbia, não! (Namibia, no!)
The play is directed by Lázaro Ramos and written by Aldri Anunciação. The comedy-drama Namibia, No! received the R7 Award for Best Theater Text of 2012 – São Paulo, through a popular vote, which mobilized more than 100,000 voters. The show was also contemplated with the Prêmio Braskem de Teatro 2011 award – Salvador e o Fapex award- 2010, both in the Best Text category. The book Namibia, No! is also written by Aldri Anunciação and it won the Jabuti Prize for Literature, the largest Brazilian prize in literature.
The argument comes from the following hypothetical situation: the year is 2016, and the Brazilian government decrees that all the black people will be deported to a country in Africa as a measure of social reparation. Played with humor and intelligence, the show provokes a discussion about human social relations in Brazil based on the confinement of two cousins in an apartment, while they are trying to protect themselves from the ambitious federal provisional measure. Using the aesthetics of the Theater of Absurd and ironic comedy, the text and the staging of Namibia, No! put the viewer in a situation of conflict, where the decision to go or stay is not easy at all.
Uma Vez, Nada Mais (One Time, Nothing More)
The result of years of research and investigation into the movement and language of silent film, this play tells the story of two women, both passionate and dreamers, who, little by little, discover that they have many things in common, which makes for an diverting romantic comedy. With lyricism, irony and humor, but without a single word, the actresses move in a distinctively precise and agile way, evoking the esthetic of silent film. Uma Vez, Nada Mais proposes an exchange among languages, by joining television and radio soap-operas and cinema together, and introduces humor through ingenuity, body language, the humanity and endearing natures of the characters and the simplicity of each situation.
In 2009, the year of its premiere, Uma Vez, Nada Mas received the Braskem Theater Awards for Best Play and Best Actress, and was nominated by the public for Play of the Year. After many awards and several enormously successful seasons in the main theaters of Salvador, the romantic comedy toured fourteen Brazilian cities, funded by grants received from the Funarte Myriam Muniz Theater Award and the Caixa Economica Federal Bank, as well as a partnership with the SESCS through the project Palco Giratório. In 2016, the play will perform a season in Fortaleza, with support and funding from the Banco do Nordeste.×